Uman speaks of her lifelong desire to be alone in the middle of nowhere. The feeling first arose when she was just a kid in Somalia and followed her to Kenya, then Denmark, then New York City, until—at the onset of her meteoric rise in the art world—she settled in upstate New York around 2010. In this idyllic landscape, Uman found the sort of rustic sanctum she had envisioned for herself since childhood.

Brenda Goodman’s fourth solo show with Sikkema Malloy Jenkins, The Sum of Its Parts, comprises fourteen recent pictures and one from the early 1970s. The exhibition touches on several typologies within Goodman’s genre-defying oeuvre, but generally focuses on her ingenious use of space, both in the particular, as with the depictions of her home and studio, and the abstract.

Phoebe Helander’s first solo exhibition in New York City, Paintings from the Orange Room at P·P·O·W, is an auspicious debut consisting of nearly fifty intimate still lifes that make legible her attention to objects over time.

In Psyche, her third solo show at SEPTEMBER, Ashley Garrett taps into this rich tradition of observational painting, but with seventeen works that might be rightly dubbed abstract impressionism. They are not the landscapes as she initially saw them, but motes of a place transfigured by time and memory.